ewoo BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH %? CMusic Director kT Berkshire Festival 1962 Q)harles zJACunch conducts the ±$oston Symphony The talents of Charles Munch are particularly suited to the lush, romantic "Romeo and Juliet" by Tchaikovsky, and the playful, humorous antics of Strauss' "Till." Champion of the music of Ravel, Dr. Munch restores "Daphnis and Chloe" to a single, beautifully rounded work by presenting the delightful score in its entirety. Both albums are in Living Stereo and Monaural Hi-Fi. TCHAIKOVSKY ROMEO & JULIET STRAUSS TILL EULENSPIEGEL RCA VICTOR TMK'S « THE MOST TRUSTED NAME IN SOUND Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Berkshire Festivalj Season 1962 TWENTY- FIFTH SEASON MUSIC SHED AT TANGLEWOOD. LENOX, MASSACHUSETTS SECOND WEEK Concert Bulletin, ivith historical and descriptive notes by John N. Burk Copyright, 1962 by Boston Symphony Orchestra, inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C. Paine Abram Berkowitz E. Morton Jennings, Jr. Sidney R. Rabb Theodore P. Ferris Henry A. Laughein Charles H. Stockton Francis W. Hatch John T. Noonan John L. Thorndike Harold D. Hodgkinson Mrs. Tames H. Perkins Raymond S. Wilkins C D. Jackson Oliver Wolcott Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Tanglewood Advisor) Committee Alan J. Blah Henry W. Dwight George E. Mole Robert K. Wheeler Lenges Bull George W. Edman Whitney S. Stoddard H. George Wilde Lawrence K. Miller Jesse L. Thomason Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Samuel H. Sprott Lenox, William T. McCormack Lee, C. Marcel Brunell Thomas D. Perry, Jr., Manager Norman S. Shirk, Assistant Manager James J. Brosnahan, Business Administrator Leonard Burkat, Music Administrator Rosario Mazzeo, Personnel Manager — 3 — A Cadillac travels in such wondrous silence that it is actually possible to whisper and be heard. VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER II BOSTON SYMPHONY ORCHESTRA VTTTTTTTTTTTTTTTTTTTTTTTrTTTTTTTTTT^T T T» TT T T »TT Friday Evening, July 13, at 8:00 CHARLES MUNCH, Conductor MOZART Serenade in B-flat major for 13 Wind Instruments, K. 361 Largo; Molto allegro Adagio Menuetto Rondo : Allegro molto Piano Concerto No. 25, in C major, K. 503 I. Allegro maestoso II. Andante III. (Allegretto) Soloist: CLAUDE FRANK Intermission Symphony No. 38, in D major, "Prague," K. 504 I. Adagio; Allegro II. Andante III. Finale: Presto Mr. Frank plays the Steinway Piano BALDWIN PIANO RCA VICTOR RECORDS — 5 . Program Notes WOLFGANG AMADEUS MOZART Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 Friday Evening, July 13 SERENADE FOR THIRTEEN WIND INSTRUMENTS (K. 361) Mozart composed this Serenade at the end of 1780 or early in 1781 and it may have been performed that season by the Hofkapelle at Munich. The instruments called for are 2 oboes, 2 clarinets, 2 basset-horns, 4 French horns, 2 bassoons and contra-bassoon (or double bass). Composing this Serenade while he was at work on his Idomeneo in Munich, Mozart had plainly learned a thing or two in Paris and Mannheim about wind players and was probably taking advantage of the excellent clari- nets in the Munich Opera Orchestra (clarinets were still rarely encountered at that time—Mozart was to avail himself of the instrument later in Vienna) The Serenade has seven movements of which a first minuet, a second adagio and theme with variations are omitted in this performance. Your Year-Round Vacationland Your Permanent Home For gracious living, for unexcelled business opportunities, there's no place like the Berkshire Hills! A renowned resort area, the Berk- shires offer a skilled labor sup- ply, easy access to major markets and strategic materials, top-notch educational facilities and good transportation. Now that the Massachusetts Turnpike is opened, this thriving industrial area and its delightful suburbs are just a short drive from Boston and New York. For an informative brochure, write: BERKSHIRE HILLS CONFERENCE 100 North Street, Pittsfield, Mass. — 6 — Jean Frederic Schinck describing a Stadler Concert in Vienna in 1784 wrote: "I have heard a piece for wind instruments in four movements by Herr Mozart today. Magnificent ! It consisted of thirteen instruments, includ- ing two clarinets, two basset-horns, a bass, and at each desk sat a master. What power! What grandeur, nobility, magnificence!" This writer describing a revised version made in Vienna was quicker than most of his contemporaries to single out the dominance of clarinet color in the four instruments which included two basset-horns. Mozart provides a reedy foil with the two oboes, for the dulcet clarinet tone is undisputed by the limpid clarity of flutes, which, if used, would result in a "mixture" in the high register unsuited to the master's immediate purposes. The addition of four horns, two bassoons and a contra-bassoon (the original score indicated a double bass, perhaps because of the unavailability of the other instrument at the time) made what was then called a "Harmoniemusik," useful at parties and in vogue for out-door purposes. The incomplete description by Schinck fails to clarify a problem of early versions of this work. Otto Jahn describes a string quintet (which came into the possession of the Gesellschajt der Musikfreunde in Vienna) for two violins, two violas and cello which contains four of the seven movements (the ones played at the present per- formance) the manuscript evidently written in a childish hand and inscribed These 9CF pianists Evelyn Crochet featured this season at Leon Fleisher Claude Frank the Berkshire Festival Gary Graffman play only Eugene Istomin Byron Janis THE STEIWAY Rudolf Serkin Vronsky and Babin IN MASSACHUSETTS AND NEW HAMPSHIRE NEW STEINWAY PIANOS ARE SOLD ONLY BY M. STEINERT & SONS 162 BOYLSTON ST. BOSTON • WORCESTER, SPRINGFIELD — 7 — in a still different hand as of January 25, 1768. Otto Jahn has assumed that this string version was therefore an early study for the wind piece by the composer at the age of twelve. Alfred Einstein in his edition of the Koechel Catalogue was certain that the boyish handwriting "had nothing to do with Mozart," but he did admit this to be "one of the great mysteries of Mozart investigation." Georges de Saint-Foix, a close scholar of Mozartean authenticity, goes further and indignantly refutes Jahn's theory: "Mozart in 1768 would have been absolutely incapable of composing or even of conceiving at that time any one of the movements of this Serenade, which is one of the most splendid which he has written, but it is quite probable that he would have wished to make known to the Viennese under more accessible form the outstanding masterpiece which we believe he had composed in Munich during or just after Idomeneo ... it was much later, perhaps about 1787-88 that he enlarged the work adding a Romanze followed by one of the most beautiful of his variations as well as a minuet. It is then quite believable that he was limited in Vienna to a transcription of the Serenade to a version for string quintet as he had been in exactly the same way on another occasion with the Serenade for Winds in C minor [K. 388] in the summer of 1782." Saint- Foix is second to none in his admiration for the Serenade in B-flat: "This work, as surprising in ensemble as in detail, is the certain result of conquests ***• AVAVOC## •*** A COUNTRY INN LENOX, MASSACHUSETTS Just across the Road-AVALOCH offers two fine restaurants of different and exciting character . Continental Dining high in the Berkshires An open air room for summer dining. Special Sunday BUFFET in the GAZEBO that you can't afford to miss! FIVE REASONS STEAK & ALE HOUSE A superb Steak House featuring 30 varieties of Foreign Beer and Ale. Huge steak and half-pound hamburger. Dancing Wed. thru Sat. to music of "Tempo 44" FOR RESERVATIONS PHONE LENOX 41 -ALL RESORT FACILITIES — 8 — — realized by Mozart in Idomeneo, notably in the dominance of wind instru- ments. It shows a grandeur and power comparable to the inspiration of the Kyrie in D minor" [K. 341]. PIANO CONCERTO NO. 25, IN C MAJOR, K. 503 This was the last concerto of the great succession of fifteen composed for public performance in Vienna. It was composed in December, 1786. The two which followed, after a space of two and four years respectively, were for other uses.* The last of the C major concertos is a splendid close to the Vienna series. It is also the complete antithesis of its predecessor, the C minor Concerto. It is expansive, unruffled in its sunny key. Dr. Friedrich Blume, in his preface to the Eulenberg miniature score, relates it to Figaro, which it followed, "both in conception and time of origin." There is an occasional chance echo, such as the theme introduced in the fiftieth bar where the gaiety of the second act finale bobs up. It has the special elevation of mood of The Magic Flute, or indeed the "Jupiter" Symphony, where C major becomes for Mozart a realm of special, effulgent purity, not without nobility of sentiment. Indeed this concerto could as readily be called "Olympian" as the final * There is no record of a performance of the "Coronation" Concerto of 1788 in Vienna while he lived; the last one, in B-flat, was privately commissioned. MUSIC AT BOSTON UNIVERSITY • Scholarship Awards to outstanding high school seniors one to four years full tuition. • Freshman Applications now being processed for 1963- 1964 admission. Auditions held monthly. • Graduate Assistantships and Doctoral Fellowships up to $1800 per year. • For complete information write School of Fine and Applied Arts Boston University 855 Commonwealth Avenue Boston 15, Massachusetts — 9 — symphony, and, compared with that province of Mozart's art as its comple- ment, the C minor Concerto might be associated with the G minor Symphony.